I feel so expansive listening to this, and I think a lot of it is because Fournier's playing is so perfect, in a very "modern", 20th century way. He does not put finger or bow awry, and the double-string work has to be heard to be believed. I am very happy with this "mature" type of playing, especially for this piece. While they never go for broke, neither do they hang back or overreach themselves.

Here, Kubelik is the younger, but of course he misses nothing, either. He plays it very much for Fournier, conscious of his special charge, although at a couple of points in the Adagio he switches up for some South German/Austrian tone and sonority that may not add, but neither does it take anything away. One thing I'll bet is that the musicians are glad to take a break when Kubelik is done with them. At the same time, I suppose everyone in the ensemble gets that this is one hell of a session. You can hear the total attention, and the subtle counterpoint alone is reward enough for this effort.

This is a wonderful composition, played by masters, as well played as I have heard it, overall. The recording and record are great, with spectacular surfaces and great traction. Yes, there is some of the ffrr "proprietary curve" going on; but not bad, really.

It's been too long since I last heard this. Today, with different amps, I heard it a little differently, with Kubelik "working it" a little harder, using his first chairs to put lovely, "subtle" shadings on Fournier's decisive phrases, with phenomenal timing, pitch and timbre; real Art. I may never understand how he manages to get so much from an orchestra. VERY well done! Not to mention truly astounding dynamics and amazingly natural massed strings from the LP!

Again, no setting aside the piece or the cellist; both are brilliant! We are so lucky that Dvorak changed his mind about the cello. One for the ages!